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Waterloo Bridge (1940)

Passed | | Drama, Romance, War | 17 May 1940 (USA)
During World War I, believing her fiancé to be dead, a young ballerina loses her job and is forced to turn to prostitution.

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Writers:

(screen play), (screen play) | 2 more credits »
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Nominated for 2 Oscars. See more awards »
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Cast

Complete credited cast:
...
...
Lucile Watson ...
Lady Margaret Cronin
...
...
Madame Olga Kirowa
...
The Duke
...
Maureen
...
Elsa
...
Lydia
Virginia Carroll ...
Sylvia
Leda Nicova ...
Marie
Florence Baker ...
Beatrice
Margery Manning ...
Mary
Frances MacInerney ...
Violet
...
Grace
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Storyline

On the eve of World War II, a British officer revisits Waterloo Bridge and recalls the young man he was at the beginning of World War I and the young ballerina he met just before he left for the front. Myra stayed with him past curfew and is thrown out of the corps de ballet. She survives on the streets of London, falling even lower after she hears her true love has been killed in action. But he wasn't killed. Those terrible years were nothing more than a bad dream is Myra's hope after Roy finds her and takes her to his family's country estate. Written by Dale O'Connor <daleoc@interaccess.com>

Plot Summary | Plot Synopsis

Taglines:

Her First Picture Since "Gone With The Wind"

Genres:

Drama | Romance | War

Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

17 May 1940 (USA)  »

Also Known As:

El puente de Waterloo  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Ethel Griffies played (uncredited) the Landlady in BOTH Waterloo Bridge (1931) & Waterloo Bridge (1940). She was Mrs. Hobley in the earlier version and Mrs. Clark in the later version. See more »

Goofs

When Roy and Myra are coming out of the Underground station after the air raid near the beginning of the film a traffic light is clearly visible in the top right hand corner. There were no traffic lights in London until 1931. See more »

Quotes

Roy Cronin: Now, listen, darling. None of your quibbling. None of your questioning. None of your doubts. This is positive, you see. This is affirmative, you see. This is final, you see. You're going to marry me, you see!
See more »

Connections

Version of Gaby (1956) See more »

Soundtracks

The Bonnie Banks O' Loch Lomond
(ca. 1745) (uncredited)
Traditional Scottish song
Played as background music when Myra and Roy are riding to Lady Margaret
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Chaos of a life turned on its head
27 April 2005 | by (MA) – See all my reviews

I've often thought that if Vivien Leigh hadn't had such a rocky and depressing life (manic depression, lost love in Lawrence Olivier, miscarriages, tuberculosis) she would have found a place among Bette Davis, Katherine Hepburn, and the like. She only made 19 films during her 30 year career, although that includes making legend as Scarlett O'Hara, and helping usher in a new era of acting by providing a pitch perfect classical foil as Blanche DuBois to Brando's smoldering and revolutionary Stanley Kowalski. But her favorite performance was that of Myra Lester in the tragic film Waterloo Bridge. Watching it it's no surprise: the film is subtly directed with a powerful story and well built characters that are an actor's dream to inhabit.

The story revolves around Myra, a ballerina turned prostitute during WWI when she believes her fiancée has died and she is plunged into poverty. The film was perfect fodder for melodrama, but rather it's a taut and realistic and uncompromising film. Direction is not overbearing and lets the film play out delicately except for several bold shots here and there which deeply accent it. Although the melodramas of the 40s are wonderful creatures, this film gained a lot by taking a rare path and going realistic.

Misfortune rules the day and is invited in after a series of near misses and miscalculations, and yet the plot doesn't feel technical or forced. Thanks to the script and performances, it all feels like the ebb and flow of the lives of these characters, pride and honesty and a slightly naive fiancée are the cause of Myra's downfall. And Leigh gives a performance on par with anything she's ever done, if not as epic as Gone With the Wind or wild as Blanche.

Leigh had a special way of handling the screen, of inhabiting her character with a certain distracted quality that made you feel as if she didn't realize there was a camera in the room or that she wasn't in fact the character she was playing. There are few actresses who could make it look as easy as she did, it seems like breathing. She was fierce and fearless, versatile; she could lose all her dignity on screen or be the living embodiment of it, and she possessed the rare quality of immediately communcating any emotion that was as tangible as anything with her face. That said, this is probably her most realistic character and her most tragic, and Leigh makes it profound and gut wrenching by being sophisticated and dignifed, and then at the right moments she takes the fall and gets ugly.

There's a brazen brilliant tracking shot where Myra, the former innocent ballerina, walks through Waterloo station in full slinky getup looking for johns, wearing a stone cold face that would intimidate O'Hara herself. It's seductive and we know she hates herself. Still, Leigh doesn't play an ounce of self pity or tragedy, she's determined to survive and get a client. In that way its very much a modern acting performance. It could be sexy, nowadays they'd try to make it sexy, but in the delicately built context of the story it's both mesmerizing and heartbreaking. And when she meets up with her not-dead-at-all love, played with sweet nobility by Robert Taylor, she tries to wipe off her lipstick when he goes to make a phone call, and the shame spills out from the screen.

The writing is very graceful (partly out of necessity to appease the almighty Production Code), at times remarkably candid and light (particularly with the earlier love scenes), and not very sentimental or stylized at all (not to say those are bad things, it's just that this film isn't). A lot of the dialogue sounds like conversation. It's romantic, but it doesn't resort to cliché or the easy way out: its tragedy is harsh and entirely unnecessary, the way it usually is in life. And Leigh's performance single handedly keeps you from forgetting Myra's story once the credits roll and you return to life in 2005. Not many actresses have that power. I only wish I could have seen what she would have done with less sorrow in her own life.


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